Fira Walking Tour (Self Guided), Santorini
Known in antiquity as Thera, the island was originally a roughly circular landmass shaped by volcanic activity in the southern Aegean. Its earliest known settlement dates to the Neolithic period, but Santorini entered history more clearly during the Bronze Age, when it developed into an important center of Cycladic and later Minoan civilization.
Around the 17th century BCE, Santorini experienced one of the most powerful volcanic eruptions in recorded history. The eruption caused much of the island to collapse inward, forming the flooded caldera that defines the landscape today. Ash and pumice buried settlements such as Akrotiri, preserving them in remarkable detail. The eruption had far-reaching effects across the eastern Mediterranean and is often associated with the decline of Minoan power on Crete.
After centuries of reduced habitation, the island was resettled in antiquity. Under Roman and later Byzantine rule, Santorini became part of wider political and religious networks. Christianity reached the island early, and churches and small monastic communities appeared across the landscape. Although its isolation limited large-scale urban expansion, Fira emerged as a focal point of local governance and daily life, benefiting from its commanding position above the natural harbor below.
From the 13th to the 16th centuries, Santorini was ruled by Venetian families, most notably the Sanudo dynasty, before passing under Ottoman control. Despite political shifts, the island maintained a strong agricultural economy. The volcanic soil proved especially suited to viticulture, shaping both the rural landscape and the enduring identity of Santorini and its capital, Fira.
Within Fira’s compact center, several landmarks anchor Santorini’s history and skyline. The Museum of Prehistoric Thera presents finds, including wall paintings, pottery, and everyday objects preserved by volcanic ash, offering a clear picture of Bronze Age life. Nearby stands the Cathedral of Saint John the Baptist, a 19th-century Catholic church with a restrained facade and calm interior. Just beyond, the Three Bells of Fira mark one of the island’s most recognizable viewpoints, where a blue dome and bell tower frame the caldera below.
Today, Santorini is defined by its carefully shaped architectural landscape. Whitewashed houses, terraced along the caldera cliffs, create the romantic image that has made the island one of the world’s most sought-after destinations.
Around the 17th century BCE, Santorini experienced one of the most powerful volcanic eruptions in recorded history. The eruption caused much of the island to collapse inward, forming the flooded caldera that defines the landscape today. Ash and pumice buried settlements such as Akrotiri, preserving them in remarkable detail. The eruption had far-reaching effects across the eastern Mediterranean and is often associated with the decline of Minoan power on Crete.
After centuries of reduced habitation, the island was resettled in antiquity. Under Roman and later Byzantine rule, Santorini became part of wider political and religious networks. Christianity reached the island early, and churches and small monastic communities appeared across the landscape. Although its isolation limited large-scale urban expansion, Fira emerged as a focal point of local governance and daily life, benefiting from its commanding position above the natural harbor below.
From the 13th to the 16th centuries, Santorini was ruled by Venetian families, most notably the Sanudo dynasty, before passing under Ottoman control. Despite political shifts, the island maintained a strong agricultural economy. The volcanic soil proved especially suited to viticulture, shaping both the rural landscape and the enduring identity of Santorini and its capital, Fira.
Within Fira’s compact center, several landmarks anchor Santorini’s history and skyline. The Museum of Prehistoric Thera presents finds, including wall paintings, pottery, and everyday objects preserved by volcanic ash, offering a clear picture of Bronze Age life. Nearby stands the Cathedral of Saint John the Baptist, a 19th-century Catholic church with a restrained facade and calm interior. Just beyond, the Three Bells of Fira mark one of the island’s most recognizable viewpoints, where a blue dome and bell tower frame the caldera below.
Today, Santorini is defined by its carefully shaped architectural landscape. Whitewashed houses, terraced along the caldera cliffs, create the romantic image that has made the island one of the world’s most sought-after destinations.
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Fira Walking Tour Map
Guide Name: Fira Walking Tour
Guide Location: Greece » Santorini (See other walking tours in Santorini)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 8
Tour Duration: 2 Hour(s)
Travel Distance: 3.4 Km or 2.1 Miles
Author: max
Sight(s) Featured in This Guide:
Guide Location: Greece » Santorini (See other walking tours in Santorini)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 8
Tour Duration: 2 Hour(s)
Travel Distance: 3.4 Km or 2.1 Miles
Author: max
Sight(s) Featured in This Guide:
- Santorini Old Harbor
- Archaeological Museum of Thera
- Orthodox Metropolitan Cathedral
- Museum of Prehistoric Thera
- 25 Martiou Street
- Megaro Gyzi Cultural Center & Museum
- St. John the Baptist Cathedral
- Three Bells of Fira
1) Santorini Old Harbor
Santorini’s Old Harbor owes its existence to the island’s volcanic formation, shaped primarily by the great Bronze Age eruption around the 16th century BCE. For centuries, it functioned as the island’s main maritime access point, serving small cargo vessels and passenger boats until modern port facilities were developed elsewhere. Today, it no longer handles large-scale traffic but remains active as a tender harbor for cruise ships.
Because the caldera drops steeply into deep water, cruise ships cannot dock directly. Instead, passengers are transferred to the Old Harbor by tender boats, which ferry them ashore from anchored ships. Historically, access between the harbor and Fira was possible only via a steep zigzagging path of approximately 580 steps, carved into the cliff face and still visible today.
Modern visitors can reach the upper town by cable car, introduced in the late 20th century. The ride takes about five minutes and offers wide views over the caldera and harbor below. Donkeys, once an essential means of transport, are still present, though their use today is increasingly discouraged. For those on foot, the climb remains demanding, especially in summer heat.
The Old Harbor waterfront features a small cluster of cafes, taverns, and souvenir shops catering mainly to cruise passengers. From here, boat excursions depart to the Nea Kameni volcano and nearby hot springs, particularly during the warmer months. While the harbor can become crowded during peak cruise days, overall visitor numbers fluctuate depending on ship schedules rather than constant daily traffic.
Because the caldera drops steeply into deep water, cruise ships cannot dock directly. Instead, passengers are transferred to the Old Harbor by tender boats, which ferry them ashore from anchored ships. Historically, access between the harbor and Fira was possible only via a steep zigzagging path of approximately 580 steps, carved into the cliff face and still visible today.
Modern visitors can reach the upper town by cable car, introduced in the late 20th century. The ride takes about five minutes and offers wide views over the caldera and harbor below. Donkeys, once an essential means of transport, are still present, though their use today is increasingly discouraged. For those on foot, the climb remains demanding, especially in summer heat.
The Old Harbor waterfront features a small cluster of cafes, taverns, and souvenir shops catering mainly to cruise passengers. From here, boat excursions depart to the Nea Kameni volcano and nearby hot springs, particularly during the warmer months. While the harbor can become crowded during peak cruise days, overall visitor numbers fluctuate depending on ship schedules rather than constant daily traffic.
2) Archaeological Museum of Thera
The Archaeological Museum of Thera offers an overview of the island’s history from antiquity through the Roman period, drawing entirely on material uncovered in local excavations. Its permanent exhibition includes sculpture, inscriptions, pottery, and small finds dating from the Archaic, Classical, Hellenistic, and Roman eras, illustrating how Santorini was integrated into wider Greek and Mediterranean cultural networks.
Among the highlights are stone sculptures, as well as vases and clay figurines spanning from the Geometric to the Hellenistic periods. These objects reflect everyday life, religious practices, and funerary customs on the island. A notable geological exhibit, a large volcanic boulder, underscores the close relationship between local history and Santorini’s volcanic environment.
The museum was founded in 1902, making it one of the earliest archaeological museums established in Greece outside Athens. The current building dates from the 1960s, constructed after the earlier structure was destroyed during the 1956 earthquake. While smaller in scale than national collections in Athens, the museum’s significance lies in the local origin of its exhibits. Every major piece comes from Santorini itself, offering visitors a concentrated view of the island’s archaeological record in one place.
Notable objects on display include the Theran amphora with Geometric decoration, fragments of Archaic funerary kouroi, a Daedalic-style clay figurine, and an Attic black-figure kylix. Another significant highlight is the Kore of Thera, a nearly intact Archaic female statue standing 2.48 meters tall, dated to around 640 BCE. Executed in the early Daedalic style, the kore offers rare insight into large-scale sculptural production on the island during the early Archaic period.
Among the highlights are stone sculptures, as well as vases and clay figurines spanning from the Geometric to the Hellenistic periods. These objects reflect everyday life, religious practices, and funerary customs on the island. A notable geological exhibit, a large volcanic boulder, underscores the close relationship between local history and Santorini’s volcanic environment.
The museum was founded in 1902, making it one of the earliest archaeological museums established in Greece outside Athens. The current building dates from the 1960s, constructed after the earlier structure was destroyed during the 1956 earthquake. While smaller in scale than national collections in Athens, the museum’s significance lies in the local origin of its exhibits. Every major piece comes from Santorini itself, offering visitors a concentrated view of the island’s archaeological record in one place.
Notable objects on display include the Theran amphora with Geometric decoration, fragments of Archaic funerary kouroi, a Daedalic-style clay figurine, and an Attic black-figure kylix. Another significant highlight is the Kore of Thera, a nearly intact Archaic female statue standing 2.48 meters tall, dated to around 640 BCE. Executed in the early Daedalic style, the kore offers rare insight into large-scale sculptural production on the island during the early Archaic period.
3) Orthodox Metropolitan Cathedral
The Orthodox Metropolitan Cathedral of Thera, also known as the Cathedral of Ypapanti, is the island’s principal Orthodox church. An earlier cathedral occupied this site in the 19th century, but the structure you see today was rebuilt after the devastating earthquake of 1956, which destroyed much of Fira. The reconstruction combined traditional Orthodox forms with mid-20th-century building techniques.
From the outside, focus first on the arched arcades that frame the facade. Above them rises the central dome, while the bell tower, set slightly apart, adds vertical emphasis to the composition. Together, these elements create a layered silhouette that is visible from several points along the caldera.
Now step inside and pause near the entrance. Greek Orthodox churches rely on iconography, wall paintings, and carefully structured use of light, rather than stained glass. As your eyes adjust, look toward the upper walls and ceiling, where frescoes by the local artist Christoforos Asimis unfold. His work reflects modern Orthodox painting while remaining firmly rooted in traditional themes and iconographic order.
Move your gaze upward toward the central chandelier, which hangs beneath the dome. Nearby, notice the mosaics added in 1975. The cathedral remains an active place of worship, and visitors are welcome outside of services. Modest dress is required, with shoulders and knees covered, and a respectful atmosphere is expected, especially during religious observances.
From the outside, focus first on the arched arcades that frame the facade. Above them rises the central dome, while the bell tower, set slightly apart, adds vertical emphasis to the composition. Together, these elements create a layered silhouette that is visible from several points along the caldera.
Now step inside and pause near the entrance. Greek Orthodox churches rely on iconography, wall paintings, and carefully structured use of light, rather than stained glass. As your eyes adjust, look toward the upper walls and ceiling, where frescoes by the local artist Christoforos Asimis unfold. His work reflects modern Orthodox painting while remaining firmly rooted in traditional themes and iconographic order.
Move your gaze upward toward the central chandelier, which hangs beneath the dome. Nearby, notice the mosaics added in 1975. The cathedral remains an active place of worship, and visitors are welcome outside of services. Modest dress is required, with shoulders and knees covered, and a respectful atmosphere is expected, especially during religious observances.
4) Museum of Prehistoric Thera (must see)
The Museum of Prehistoric Thera offers a focused introduction to Santorini’s prehistoric past, centered on the Bronze Age settlement of Akrotiri. The first displays you encounter provide broad context, introducing the island’s geology, volcanic landscape, and early settlement history. These sections frame the story of Thera before the catastrophic eruption of the 17th century BCE, setting the stage for the archaeological material that follows.
The exhibition then turns to finds drawn primarily from Akrotiri, with additional material from other sites on the island. Here, the focus shifts to the Late Cycladic I period, the final phase of life at Akrotiri. Pottery vessels, jewelry, and bronze tools illustrate everyday activities and technical skill, while more specialized ceramic forms, such as “bird jugs” decorated with swallow motifs, reflect both function and decoration.
Nearby, plaster casts of wooden furniture, including beds and storage units, offer one of the museum’s most tangible connections to daily life. Created from voids left in the volcanic ash after the original wood decayed, these casts preserve forms that are rarely visible in prehistoric archaeology and give a sense of how interior spaces were organized.
The museum’s highlight is presented on the second floor, where a major permanent exhibition opened in 2021 under the title “Thera Wall Paintings: The Masterpieces of Aegean Prehistory”. The frescoes are arranged according to their original iconographic programs, allowing visitors to see how painted scenes once functioned within specific rooms rather than as isolated images.
Among the most celebrated works are the saffron gatherers, the spring fresco with swallows, and compositions known as the Ladies, Papyri, and Blue Monkeys. Their vivid colors, rhythmic movement, and close observation of the natural world form the visual center of the museum. Smaller fragments surrounding them show how decoration extended throughout the interiors of Akrotiri’s houses.
One of the museum’s most exceptional small finds is the Gold Ibex figurine, discovered in 1999. Cast from solid gold, it is unique within Aegean prehistoric art and offers a glimpse into the wealth, craftsmanship, and symbolic culture of Akrotiri shortly before its burial. Together, the galleries present a coherent journey from geological forces to a fully developed Bronze Age settlement, preserved at a precise moment beneath volcanic ash.
The exhibition then turns to finds drawn primarily from Akrotiri, with additional material from other sites on the island. Here, the focus shifts to the Late Cycladic I period, the final phase of life at Akrotiri. Pottery vessels, jewelry, and bronze tools illustrate everyday activities and technical skill, while more specialized ceramic forms, such as “bird jugs” decorated with swallow motifs, reflect both function and decoration.
Nearby, plaster casts of wooden furniture, including beds and storage units, offer one of the museum’s most tangible connections to daily life. Created from voids left in the volcanic ash after the original wood decayed, these casts preserve forms that are rarely visible in prehistoric archaeology and give a sense of how interior spaces were organized.
The museum’s highlight is presented on the second floor, where a major permanent exhibition opened in 2021 under the title “Thera Wall Paintings: The Masterpieces of Aegean Prehistory”. The frescoes are arranged according to their original iconographic programs, allowing visitors to see how painted scenes once functioned within specific rooms rather than as isolated images.
Among the most celebrated works are the saffron gatherers, the spring fresco with swallows, and compositions known as the Ladies, Papyri, and Blue Monkeys. Their vivid colors, rhythmic movement, and close observation of the natural world form the visual center of the museum. Smaller fragments surrounding them show how decoration extended throughout the interiors of Akrotiri’s houses.
One of the museum’s most exceptional small finds is the Gold Ibex figurine, discovered in 1999. Cast from solid gold, it is unique within Aegean prehistoric art and offers a glimpse into the wealth, craftsmanship, and symbolic culture of Akrotiri shortly before its burial. Together, the galleries present a coherent journey from geological forces to a fully developed Bronze Age settlement, preserved at a precise moment beneath volcanic ash.
5) 25 Martiou Street
25 Martiou Street is one of the main commercial arteries of Fira, functioning as a central corridor for both daily services and visitor activity. It intersects with Theotokopoulou Square, the town’s principal civic and transport hub, where banks, pharmacies, and the bus and taxi terminals are located. This connection makes the street an essential link between public transport and the surrounding commercial and residential areas.
Running inland rather than along the caldera, the street connects the central square with the upper parts of town and forms part of the natural route toward Firostefani and Imerovigli settlements. Lined with jewelry shops, clothing boutiques, bakeries, travel agencies, and souvenir stores, it supports a broad mix of local needs and tourism-related commerce.
Although often described as a walking street, 25 Martiou is not fully pedestrianized year-round. It is a paved road that allows vehicle access, but car traffic is typically restricted during the summer months to manage heavy pedestrian flow. As a result, it functions in practice as one of Fira’s main walking routes, particularly for visitors moving between the transport hub and the town center.
Architecturally, the street reflects the functional side of Cycladic urban life. Whitewashed facades and commercial shopfronts define its appearance, rather than continuous scenic viewpoints. While blue domes are a widely recognized symbol of Santorini, they are less characteristic here, appearing more often on nearby churches and along the caldera edge. Instead, 25 Martiou Street offers a grounded view of contemporary island life, where commerce, movement, and routine intersect at the heart of Fira.
Running inland rather than along the caldera, the street connects the central square with the upper parts of town and forms part of the natural route toward Firostefani and Imerovigli settlements. Lined with jewelry shops, clothing boutiques, bakeries, travel agencies, and souvenir stores, it supports a broad mix of local needs and tourism-related commerce.
Although often described as a walking street, 25 Martiou is not fully pedestrianized year-round. It is a paved road that allows vehicle access, but car traffic is typically restricted during the summer months to manage heavy pedestrian flow. As a result, it functions in practice as one of Fira’s main walking routes, particularly for visitors moving between the transport hub and the town center.
Architecturally, the street reflects the functional side of Cycladic urban life. Whitewashed facades and commercial shopfronts define its appearance, rather than continuous scenic viewpoints. While blue domes are a widely recognized symbol of Santorini, they are less characteristic here, appearing more often on nearby churches and along the caldera edge. Instead, 25 Martiou Street offers a grounded view of contemporary island life, where commerce, movement, and routine intersect at the heart of Fira.
6) Megaro Gyzi Cultural Center & Museum
Housed in a 17th-century mansion that once belonged to the Venetian Gyzi family, the Megaro Gyzi Cultural Center is one of the few surviving noble residences in Santorini. The cultural center was established in 1980 by the Catholic Diocese of Thera, with the aim of preserving and presenting aspects of the island’s cultural and historical heritage.
The permanent exhibition draws largely on archival and historical material, offering insight into local life from the 15th through the 20th centuries. Among the most notable items are 15th-century engravings of Cycladic landscapes, documents from the archives of the Catholic Diocese of Thera, and a photographic collection by Vikentios Pintos, whose images from the 1930s to the 1950s document everyday life on the island. Additional displays include geological material, historical maps, and paintings by Greek artists, contributing to a broad portrait of Santorini’s social and cultural past.
Beyond its exhibitions, Megaro Gyzi functions as an active cultural venue. It regularly hosts concerts, lectures, film screenings, and theatrical performances, as well as temporary art exhibitions. The center is closely associated with the Megaro Gyzi Festival, held annually in August, which features a program of classical music concerts, recitals, and cultural events. Among the recurring highlights is the International Piano Recital, which has become one of the festival’s most recognized events.
A small museum shop operates on site, offering books, exhibition catalogues, reproductions, and selected art-related items connected to the center’s collections and events.
The permanent exhibition draws largely on archival and historical material, offering insight into local life from the 15th through the 20th centuries. Among the most notable items are 15th-century engravings of Cycladic landscapes, documents from the archives of the Catholic Diocese of Thera, and a photographic collection by Vikentios Pintos, whose images from the 1930s to the 1950s document everyday life on the island. Additional displays include geological material, historical maps, and paintings by Greek artists, contributing to a broad portrait of Santorini’s social and cultural past.
Beyond its exhibitions, Megaro Gyzi functions as an active cultural venue. It regularly hosts concerts, lectures, film screenings, and theatrical performances, as well as temporary art exhibitions. The center is closely associated with the Megaro Gyzi Festival, held annually in August, which features a program of classical music concerts, recitals, and cultural events. Among the recurring highlights is the International Piano Recital, which has become one of the festival’s most recognized events.
A small museum shop operates on site, offering books, exhibition catalogues, reproductions, and selected art-related items connected to the center’s collections and events.
7) St. John the Baptist Cathedral (must see)
The Catholic Cathedral of Saint John the Baptist stands out as the principal Roman Catholic church on the island. Originally established in the 17th century during the period of Venetian influence, it reflects the Catholic presence fostered by Western religious orders, including the Jesuits. Like many buildings on Santorini, it was repeatedly affected by seismic activity. The structure seen today dates from a reconstruction completed in 1975, carried out in a restrained, Baroque-inspired style.
Approaching the cathedral, notice the peach-colored facade, which immediately distinguishes it from the island’s predominantly whitewashed Orthodox churches. The clock tower and bell tower, rising just to one side, serve as an easy visual marker from nearby streets.
As you step inside, pause near the entrance. To one side, you’ll find the confessional, a feature typical of Catholic churches but rarely encountered elsewhere on the island. Moving forward into the nave, your eye is naturally drawn toward the main altar, positioned beneath the dome and arranged according to Western liturgical tradition rather than behind an iconostasis.
Lift your gaze upward to the central chandelier, suspended below the dome. Its placement reinforces the height of the space and acts as the visual center of the interior. Above the altar, a large religious painting forms the focal point of the sanctuary, framed by soft blue, cream, and warm-toned surfaces that emphasize light and balance over heavy ornamentation. Along the side walls, look for a series of framed devotional paintings and portraits of saints, arranged in a clear, orderly sequence.
The cathedral remains an active place of worship, serving both local parishioners and visitors. Sunday Mass is regularly held, often attended by an international congregation, with parts of the service occasionally offered in multiple languages depending on those present. Visitors are expected to dress modestly and maintain a respectful atmosphere, especially during services.
Outside, the surrounding streets form part of Fira’s compact commercial center, with small shops, cafes, and casual eateries unfolding just beyond the church—an everyday setting that contrasts with the quiet, ordered interior you have just explored.
Approaching the cathedral, notice the peach-colored facade, which immediately distinguishes it from the island’s predominantly whitewashed Orthodox churches. The clock tower and bell tower, rising just to one side, serve as an easy visual marker from nearby streets.
As you step inside, pause near the entrance. To one side, you’ll find the confessional, a feature typical of Catholic churches but rarely encountered elsewhere on the island. Moving forward into the nave, your eye is naturally drawn toward the main altar, positioned beneath the dome and arranged according to Western liturgical tradition rather than behind an iconostasis.
Lift your gaze upward to the central chandelier, suspended below the dome. Its placement reinforces the height of the space and acts as the visual center of the interior. Above the altar, a large religious painting forms the focal point of the sanctuary, framed by soft blue, cream, and warm-toned surfaces that emphasize light and balance over heavy ornamentation. Along the side walls, look for a series of framed devotional paintings and portraits of saints, arranged in a clear, orderly sequence.
The cathedral remains an active place of worship, serving both local parishioners and visitors. Sunday Mass is regularly held, often attended by an international congregation, with parts of the service occasionally offered in multiple languages depending on those present. Visitors are expected to dress modestly and maintain a respectful atmosphere, especially during services.
Outside, the surrounding streets form part of Fira’s compact commercial center, with small shops, cafes, and casual eateries unfolding just beyond the church—an everyday setting that contrasts with the quiet, ordered interior you have just explored.
8) Three Bells of Fira (must see)
The Three Bells of Fira, officially known as the Catholic Church of the Dormition, belongs to the Greek Catholic Church and falls under the jurisdiction of the Catholic Diocese of Santorini, following the Byzantine liturgical tradition while remaining in communion with Rome.
The site has a long and layered history. In the 17th century, two small cave churches were carved into the cliff face here. As the settlement expanded and the terrain shifted, these early structures were lost. An infirmary was later built on the site and subsequently occupied by Jesuits, before the property was transferred to the Catholic authorities. The present-day church was constructed in 1757, forming the core of the structure seen today.
The church suffered serious damage during the 1956 Amorgos earthquake. Extensive restoration followed, giving the building its current appearance. Architecturally modest in scale, its visual impact comes from its setting and composition: whitewashed walls, a vivid blue dome, and a freestanding bell tower crowned with three bells. The bell tower, positioned slightly apart from the church itself, overlooks the caldera and the Nea Kameni volcanic islet.
The church is dedicated to the Dormition of the Virgin Mary, celebrated on 15 August, which remains its principal feast day. On this occasion, religious services and observances are held in keeping with Byzantine Catholic tradition.
Today, the Three Bells of Fira functions both as an active place of worship and as one of the island’s most photographed viewpoints. Its best-known view is from the clifftop viewpoint and parking area above the church, from where the dome and bell tower are seen framed against the sea and sky.
The site has a long and layered history. In the 17th century, two small cave churches were carved into the cliff face here. As the settlement expanded and the terrain shifted, these early structures were lost. An infirmary was later built on the site and subsequently occupied by Jesuits, before the property was transferred to the Catholic authorities. The present-day church was constructed in 1757, forming the core of the structure seen today.
The church suffered serious damage during the 1956 Amorgos earthquake. Extensive restoration followed, giving the building its current appearance. Architecturally modest in scale, its visual impact comes from its setting and composition: whitewashed walls, a vivid blue dome, and a freestanding bell tower crowned with three bells. The bell tower, positioned slightly apart from the church itself, overlooks the caldera and the Nea Kameni volcanic islet.
The church is dedicated to the Dormition of the Virgin Mary, celebrated on 15 August, which remains its principal feast day. On this occasion, religious services and observances are held in keeping with Byzantine Catholic tradition.
Today, the Three Bells of Fira functions both as an active place of worship and as one of the island’s most photographed viewpoints. Its best-known view is from the clifftop viewpoint and parking area above the church, from where the dome and bell tower are seen framed against the sea and sky.
Walking Tours in Santorini, Greece
Create Your Own Walk in Santorini
Creating your own self-guided walk in Santorini is easy and fun. Choose the city attractions that you want to see and a walk route map will be created just for you. You can even set your hotel as the start point of the walk.
Oia Walking Tour
Oia is one of the oldest settlements on Santorini, with a history shaped by geography, seafaring, and repeated cycles of destruction and rebuilding. The village occupies the northwestern edge of the island, set along the rim of the volcanic caldera. This elevated position offered both strategic advantages and exposure to natural forces, particularly earthquakes, which have repeatedly altered the... view more
Tour Duration: 1 Hour(s)
Travel Distance: 1.0 Km or 0.6 Miles
Tour Duration: 1 Hour(s)
Travel Distance: 1.0 Km or 0.6 Miles
Firostefani and Imerovigli Walking Tour
Away from the crowded Fira yet close to the famous Santorini caldera, there are two small settlements: Firostefani and Imerovigli. Each of these gorgeous neighborhoods has something unique to offer, and thus represents an attraction in its own right.
The quaint village of Firostefani, whose name translates as "The Crown of Fira", is now considered a suburb of Santorini's capital,... view more
Tour Duration: 1 Hour(s)
Travel Distance: 2.3 Km or 1.4 Miles
The quaint village of Firostefani, whose name translates as "The Crown of Fira", is now considered a suburb of Santorini's capital,... view more
Tour Duration: 1 Hour(s)
Travel Distance: 2.3 Km or 1.4 Miles
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